User:JFordyce/sandbox: Difference between revisions

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interpret the tragic end of Hemingway? The angst that Hemingway fought against would eventually catch up with him. Yet the demons that Hemingway fought were both part of his humanity and an in- tegral part of his genius. Jackson Benson, referring to the wound that Hem- ingway received on the Italian Front, makes this important point,
Vladimir Nabokov’s infamous character, Humbert Humbert, suggests that we possess “only words to play with”{{sfn|Appel|1972|p=456}}.Indeed we do—mere words. Yet, using such frail and fallible words, employing flawed humanity and literary genius, these authors transformed personal angst into great art—creating works that shall abide, like Mount Kilimanjaro. In so doing, each has revealed to us genuine truth—a truth that may speak to our flawed but mutual humanity.
{{quote|It may be that the wounding itself led to the dark thoughts that characterize Hemingway’s best fictions (a canon in which the centerpieces would be “Big Two-Hearted River” and “A Clean, Well-Lighted Place”). But the shock of a lost immortality seems to have been magnified by an inherited depressive, paranoid per- sonality. The latter was part of his genius, although it was an in- heritance that at last he could not bear.{{sfn|Benson|1989|p=352}}. }}

Latest revision as of 21:37, 28 February 2021

Vladimir Nabokov’s infamous character, Humbert Humbert, suggests that we possess “only words to play with”[1].Indeed we do—mere words. Yet, using such frail and fallible words, employing flawed humanity and literary genius, these authors transformed personal angst into great art—creating works that shall abide, like Mount Kilimanjaro. In so doing, each has revealed to us genuine truth—a truth that may speak to our flawed but mutual humanity.

  1. ↑ Appel 1972, p. 456.
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